For 1,383 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.4 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
Average review score: 60
Highest review score: 100 The Master
Lowest review score: 0 Fired Up!
Score distribution:
1,383 movie reviews
    • 81 Metascore
    • 75 Scott Tobias
    Though the film is too slick and heavy-handed in its pro-integration sloganeering, and it's burdened by Travolta's ill-conceived star turn, its infectious high spirits and catchy tunes still pack one hell of a sugar rush.
    • 59 Metascore
    • 75 Scott Tobias
    A Molière this good deserves a more substantive portrait, but this one will do for now.
    • 78 Metascore
    • 75 Scott Tobias
    These images and reports have stirred consciences without quite stirring decisive action, and an earnest indie doc like this one seems like another cry in the wilderness.
    • 71 Metascore
    • 75 Scott Tobias
    It's an enormous scoop for a Western filmmaker, but a potentially compromising one, too. How much can a filmmaker challenge the dubious elements of Dresnok's story? At what point can the film be considered an unwitting propaganda tool for an oppressive, totalitarian system?
    • 73 Metascore
    • 75 Scott Tobias
    Rocket Science doesn't go too far into Todd Solondz-style mockery, either; though painful to witness at times, Thompson's determination to face his fears--not just of speaking, but of girls, too--is heartbreakingly noble and courageous.
    • 46 Metascore
    • 75 Scott Tobias
    The film belongs to Linney, whose caustic putdowns and status-seeking veneer barely hides her genuine hurt over her husband's philandering and her distant relationship to her own child. No doubt her diaries would be more compelling than the nanny's.
    • 63 Metascore
    • 75 Scott Tobias
    With Douglas, the film's shambling charms slowly catch hold, thanks mainly to his personal magnetism.
    • 59 Metascore
    • 75 Scott Tobias
    Whatever the case, We Own The Night plays like a masterpiece because it skillfully appropriates actual masterpieces, not because it earns the label on its own merits.
    • 71 Metascore
    • 75 Scott Tobias
    It's a fittingly loose, shambling little nothing of a comedy that's occasionally inspired, but at least a draft or two short of its potential. Still, it's a pleasure to watch Faris--a gifted, likeable comedian who tends to be the best element of many terrible movies.
    • 68 Metascore
    • 75 Scott Tobias
    Intimate, moving documentary.
    • 59 Metascore
    • 75 Scott Tobias
    Put simply, the film excels most at not being awful.
    • 65 Metascore
    • 75 Scott Tobias
    To a degree, the dynamic between Brosnan and Cooper resembles Aaron Eckhart and Matt Malloy's relationship from "In The Company Of Men."
    • 86 Metascore
    • 75 Scott Tobias
    Flight was commissioned by producers overseas, and it feels similarly, impeccably slight.
    • 52 Metascore
    • 75 Scott Tobias
    Wong's visions of a New York café, a Memphis bar, and a Vegas casino--not to mention the swaths of beautiful country in the Southwest--have that enveloping quality that make his films so persistently seductive. The natives should feel flattered.
    • 67 Metascore
    • 75 Scott Tobias
    Segel has always played more a serial monogamist than a horndog, and his earnest, self-deprecating screen persona graces the film's crudest moments with a kind of innocence.
    • 57 Metascore
    • 75 Scott Tobias
    The big payoff, of course, is Neil Patrick Harris reprising his role as "Neil Patrick Harris."
    • 80 Metascore
    • 75 Scott Tobias
    A sort of distracted, freewheeling form of inquiry and observation drives Encounters At The End Of The World, a loosely constructed documentary that seems to have been made on a whim.
    • 82 Metascore
    • 75 Scott Tobias
    If the role brings her more recognition and work, all the better, but Leo certainly isn't lobbying for it. She doesn't show off. She just does what she's always done: Reveals a character for who she is, nothing more, nothing less.
    • 73 Metascore
    • 75 Scott Tobias
    Chabrol develops the inevitable confrontation between the two men like a car wreck in slow motion, and getting there takes a little more work than it should; the film takes the form of a thriller, but it doesn't have the pace of one.
    • 84 Metascore
    • 75 Scott Tobias
    It's the definition of a film meant to be admired more than loved, but Desplechin's fierce intelligence and uncompromising sense of character come through, as does some of the sharp wit and stylistic flourishes left over from his last film, 2004's "Kings And Queen."
    • 57 Metascore
    • 75 Scott Tobias
    Special recalls a minor-key "Donnie Darko," but its vision is much more limited, and it sinks into Indiewood cliché whenever it reaches for profundity.
    • 64 Metascore
    • 75 Scott Tobias
    Mostly, Nothing But The Truth operates a lot like Billy Ray's "Shattered Glass" and "Breach," offering up the sort of no-nonsense, meat-and-potatoes docudrama that's in short supply these days.
    • 63 Metascore
    • 75 Scott Tobias
    The entries aren't equally strong, of course, but each comes from a sharp outsider's perspective, approaching Tokyo as a strange, mysterious organism that infects the populace.
    • 59 Metascore
    • 75 Scott Tobias
    American Swing could use the flair of similar portraits of disco-era debauchery like "Boogie Nights" or "Inside Deep Throat," but it’s even-handed in capturing the operation’s ambition and hubris. Just don’t bring an appetite.
    • 89 Metascore
    • 75 Scott Tobias
    What distinguishes Goodbye Solo, beyond Savané’s larger-than-life personality bumping up against West’s intractable curmudgeon, is the continued particularity of Bahrani’s work.
    • 48 Metascore
    • 75 Scott Tobias
    Director Burr Steers (Igby Goes Down) doesn't always have a firm handle on what is and isn't appropriate; the film makes a few sharp detours into misogyny, and the level of smuttiness is surprisingly high, which may be a function of Efron wanting to grow away from his core audience too fast.
    • 54 Metascore
    • 75 Scott Tobias
    On one level, it's a down-market Star Wars-inspired shoot-'em-up for kiddies; on another, it's a radical alien invasion story where the HUMANS are the aliens.
    • 66 Metascore
    • 75 Scott Tobias
    Baratz’s apparent willingness to accept everything at face value papers over some of the more troubling aspects of Tenzin’s mission, but Unmistaken Child allows the mysteries of the process to be preserved without judgment.
    • 65 Metascore
    • 75 Scott Tobias
    It's the product of a great dreamer and aesthete, rather than an authentic emotional experience--a gorgeous, crystalline bauble that really catches the light.
    • 53 Metascore
    • 75 Scott Tobias
    Its hero may be on a mission from above, but in a refreshing twist, the fate of mankind rests with the literate.